Written By: Moti Kupfer Release date - 29.05.2000 In mid-1997, "Radiohead" released their third album, "OK Computer", an album that offered listeners a glimpse into the future through its fusion of grunge and alternative rock, which had dominated the 1990s, with the electronic textures that would soon begin pushing those genres aside. “Radiohead” presented a record built around a central idea: alienation and the loneliness of modern life inside a computerized world. It was a subject that resonated deeply with listeners across the globe, including musician Jason Lytle of Grandaddy, whose second album The Sophtware Slump was released on May 29, 2000. Lytle later admitted that “OK Computer” completely exploded in his mind and convinced him that the next “Grandaddy” album had to become something emotional, futuristic, strange, and mysterious. He also acknowledged that the album planted the seeds for “The Sophtware Slump”. “Grandaddy” formed in Modesto, California in 1992, founded by singer, guitarist, and keyboardist Jason Lytle alongside bassist Kevin Garcia and drummer Aaron Burtch, with Jim Fairchild and Tim Dryden later joining the lineup. Their debut album, "Under the Western Freeway", released in 1997, was written almost entirely by Lytle himself, as he searched for complete isolation in order to work more efficiently on the band’s music. Lytle’s recurring themes revolved around the ongoing nature of human disconnection, even as technological progress continuously reshaped both society and the surrounding landscape. He isolated himself inside the garage of a remote farmhouse, working around the clock and spending nearly every waking hour creating the album’s eleven songs, while the other band members came and went whenever needed. Although “Grandaddy” originally began as a punk band, Lytle wanted to expand the arrangements using a wide collection of new equipment, including numerous pedals, an ever-growing arsenal of synthesizers, and drum machines. At the center of the album, however, stood Lytle’s Fender Jazzmaster guitar, which became the emotional and human core of the eight-minute opening track "He's Simple, He's Dumb, He's the Pilot", a composition built from three connected sections. At the same time, “The Sophtware Slump” constantly compared science against nature, placing technological progress opposite the erosion of personal identity. During the making of the album, Lytle found himself personally living through the same themes he was writing about. He composed songs that perfectly captured humanity’s collective sense of alienation, while simultaneously channeling his own personal struggles with loneliness, emotional dysfunction, and heavy drinking. That duality echoes throughout the entire record: an ambitious combination of studio experimentation and deeply emotional songwriting. Lytle wrote "Hewlett's Daughter" around the melting of glaciers, using it as imagery hinting toward the beginning of an apocalyptic age. On "Jed the Humanoid", he continued humanizing machines, partially narrating and partially mourning the android Jed, who drank himself to death. In reality, Jed became the fictional character through which Jason Lytle projected his own severe struggles with alcoholism. Lytle later explained that he used Jed as a way of confronting his own drinking problem, adding that humor had always been his preferred method of coping with serious subjects. Before music fully consumed his life, Lytle had even considered becoming a mailman, simply because it would allow him to spend most of his day wandering outdoors. Even as touring and growing fame pulled him farther away from the green landscapes of California, he continued longing for a return to nature. That feeling reaches one of its emotional peaks on "The Crystal Lake", whose rising and falling synthesizers helped turn it into perhaps the song most closely associated with Grandaddy. The track perfectly captures that constant yearning for escape and reconnection with the natural world. Lytle described the song as an old story that has repeated itself countless times throughout country music history. The title The Sophtware Slump refers to the idea of an artist whose second album fails to meet the enormous expectations created by a successful debut record, while also functioning as a double meaning connected to software itself. At its core, “The Sophtware Slump” represents the moment where the inflated myth of American consumer culture collides with the equally inflated myth of technological superiority. The fear running through the album is not that computers will eventually destroy humanity, but rather that society will advance into a futuristic world while still carrying the exact same emotional and personal problems that have always existed. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Crosby, Stills & Nash's debut album was released on May 29, 1969. The connection between the members of this wonderful trio begins in late 1967 when David Crosby is fired from "The Byrds" due to disagreements. A few months later, in early 1968, "Buffalo Springfield" starring, among others, Guitarist Stephen Stills, falls apart. Graham Nash, was a member of "The Hollies" and met Crosby during the Birds' tour in England. In July 1968, during a private party held at the home of Joni Mitchell (Stills still insists it was at Mama Cass's house), Crosby and Stills played a new song that Stills wrote after the breakup of his band. Nash joined them in singing with a third harmony, and right at that moment, the three realized that there was an amazing vocal combination between them, that could not be ignored. The crazy vocal chemistry and the special connection between the three, made Nash leave "The Hollies" and join the emerging "supergroup". The "big bang" created by this wonderful trio (which will later also become a quartet with the addition of Neil Young), gave birth to a unique "original" music, a combination of folk, rock, country, a bit of psychedelia, but more than any, a combination of vocal harmonies that no one heard before. (Photo: Henry Diltz) In terms of writing, there is a fairly balanced distribution in the number of songs each of the three members contributed to the album. As for playing, Stills took the lead and played most of the instruments on the album, guitar, bass, keyboards, and vocals, with Crosby and Nash adding acoustic guitars and of course the vocals, while Dallas Taylor was hired to play the drums. The album opens up with the song "Suite: Judy Blue Eyes", and it is indeed a real "suite", a musical piece of more than 7 minutes, with several transitions, rhythm changes, and motifs typical of progressive rock. Stills wrote the song about his ex-girlfriend, folk singer Judy Collins. The song is built on acoustic rhythms and harmonies throughout all four parts. The first part, is in a classic pop style. The second, slower part introduces the listener, for the first time, to the triple vocal harmony that will become the hallmark of the trio, and it ends with a short acoustic solo by Stills. Unique percussion features the third part of the suite, with an alert drum beat that accompanies us to the last part that ends with a mini climax that includes a few words in Spanish and the famous "doo-doo-doo-da-doo". The next track on the album, "Marrakesh Express," is a short, sweet pop song written by Nash while he was still in "The Hollies", but was rejected by the band. The song features a memorable Stephen Stills guitar line that hovers over the song throughout and sounds just like a sitar. The third track "Guinnevere" is Crosby's first contribution to the album. A soft and caressing song in a somewhat melancholy atmosphere, written about Queen Guinevere and featuring odd time signatures and uncharacteristic guitar directions. The first side of the album is sealed with two light-hearted songs: the Stills' "You Don't Have to Cry", influenced by country music and featuring the famous three-vocal harmony and steel-pedal playing, and the Nash's "Pre-Road Downs" featuring Funky bass and a special and cool guitar-pedal effect. The other side of the vinyl opens up with "Wooden Ships", an amazing song whose writing began with a jam by Crosby, Stills, and Paul Kantner, who co-wrote the song and also performed a version of it with his band "Jefferson Airplane" on their album "Volunteers". The song was written about Crosby's boat that also composed it and it tells of survivors in a post-apocalyptic world when most of the world's population was destroyed. The next track "Lady of the Island" is a pure folk song with a "Simon and Garfunkel" scent. It is all Graham Nash, but it features a bit of stills harmonies. Immediately after that comes one of the most beautiful songs on the album written by Stills "Helplessly Hoping" in which the famous trio-vocal harmony reaches its climax. !! "Long Time Gone" is a classic sixties pop-rock-blues song written by Crosby on the night Bobby Kennedy was murdered. The song features funky bass and stills electric guitar lines that accompany all the verses. The album was signed with "49 Bye-Byes", a waltz-rock song divided into several parts, a kind of mini-suite led by the sounds of a fragmented organ. (Photo: Henry Diltz) CSN's debut album was a huge success. The trio later became the leader of the protest against the Vietnam War until it was nicknamed the "Voice of the Generation". About three months after the album's release, the band performed at the legendary Woodstock Festival. It was only their second appearance ever, and yet it was a marvelous performance. Neil Young will take the stage and join the trio in the second and more "electric" part of the show, and "Electricity" was indeed there, because later in 1969 Neil Young joined the trio as a full member and expanded it into a quartet. At the beginning of the new decade, the quartet will release the masterpiece album "Déjà Vu". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 29, 2000, Iron Maiden's 12th album, "Brave New World" was released. In this album, "Maiden" moves away from her classic style and traditional metal and gets closer to the prog metal genre. The album contains 10 songs that span more than 66 minutes, seven of which are extra-long epic, dynamic and complex songs. The music on this album is more melancholy and gloomy than Maiden's other albums and is a bit more reminiscent of Bruce Dickinson's solo career than the band's. This seems to be the album that features the quietest and soft moments of the band. Songs like "Ghost of the Navigator", "Brave New World", "Blood Brothers", and "Dream of Mirrors" contain quieter and calmer openings or soft parts. Also in terms of lyrics, this is an album that addresses more serious and depressing issues, focusing on philosophy. After Blaze Bayley left the band in 1999, "Iron Maiden" left the metal world in shock with the announcement of the return of singer Bruce Dickinson and guitarist Adrian Smith to the band, and with the decision to leave Janick Gers as the band's third guitarist. Expectations from "Maidan" following the dramatic announcement were particularly high and the question was whether the band would be able to "deliver the goods". Immediately after the release of the compilation album and computer game "Ed Hunter", the band went on a tour called "Tour The Ed Hunter". Three months into the tour, the band began writing new material for their next album. The transformation of the band into a six-member ensemble expanded the band's writing possibilities and enriched it in terms of quantity and quality of materials and solos. Although Adrian and Bruce were not part of the band for the past decade, they were full partners in writing the material for the album and the results were accordingly. This is probably the band's best album since "Seventh Son of a Seventh Son", released in 1988. The album sounds just like we would expect a "Maiden" album to sound like. Special and sweeping harmonies, strong riffs, and melodic and fast solos stretch throughout the album. Bruce's voice sounded as loud and powerful as it was before he left the band. All "Maiden" fans of all kinds will be able to identify with the album. Those who prefer the 90s and Blaze Bayley era will find songs like "Dream of Mirrors", "The Nomad", and "The Thin Line Between Love And Hate". On the other hand, those who prefer the classic period of the '80s will find "The Wicker Man", The Mercenary", and "The Fallen Angel". In conclusion, unlike Maiden's albums in the 90s, this album does not include weak moments in which you feel that listening becomes forced. This album undoubtedly fulfilled the expectations that "Maiden" had with the announcement of the return of Dickinson and Smith. "Brave New World" brings back the same "Maiden" that has not been seen for years, since the great albums of the '80s. "Maiden" was revived with the return of Bruce and Adrian, who breathed new life into a band whose popularity was declining. At the same time, it's still not the same "Maiden" from the heyday of the '80s. The "Maiden" of "Brave New World" lacks the drive and "fire" of the old one." it is more polite, gentler, less daring, less adventurous and certainly less "angry" than the good old "Maiden" we knew in their "Golden Age" of the '80s. For Listening: Spotify, Apple music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about the musician, singer, and songwriter John Fogerty, without a doubt one of the great writers and performers in classical rock: (Photo: Paul Butterfield) 1. He was born on May 28, 1945, in Berkeley, California. His full name is John Cameron Fogerty. 2. He is the third of five boys born to Galen Robert and Edith Lucile Fogerty and the brother of Tom Fogerty who is four years older than him. 3. He got his first guitar when he was 12 and took guitar lessons from Barry Olivier who beyond being a professional guitar teacher was also a creator and a producer. 4. Already at the age of 14 he formed his first band "The Blue Velvets", along with his two classmates, bassist Stu Cook and drummer Doug Clifford. It was a cover band influenced by rock and roll pioneers and especially Little Richard and Bo Diddley. 5. Later his brother Tom Fogerty also joined the band and became its lead singer. 6. In 1964 the band was signed by the record company "Fantasy Records", which without the consent of its members, changed the name of the band to "The Golliwogs". (Photo: Skyminds.net) 7. The band recorded 7 singles which were not very successful. 8. In 1966, during the Vietnam War, Fogerty received his draft notice. He was finally released from the Military in 1968. 9. After his military service he returned to "The Golliwogs", which released their only album in late 1967. 10. In 1968 the band changed its name to "Creedence Clearwater Revival" (CCR), with John Fogerty taking his brother's place as the band's lead singer. 11. The band released their eponymous debut album in May 1968. The album included the band's first hit "Susie Q" and also the song "I Put a Spell on You", both cover versions that surpassed the original. 12. Already at this point John Fogerty was the band'sleader, as he wrote most of the songs, sang, and played lead guitar 13. The band's second album "Bayou Country" was released 8 months later, in January 1969, and included the hits "Born on the Bayou" and "Proud Mary". The album is on the "1001 Albums You Must Hear Before You Die" list. 14. The band's third album "Green River" was released 7 months later, in August 1969, and included the hits "Green River", "Bad Moon Rising", "Lodi" and more. This album is also on the list of "1001 Albums You Must Hear Before You Die" as well as in the list of the 500 greatest albums of all time by "Rolling Stone" magazine. 15. The band made history when they released their third album that year "Willy and the Poor Boys", just 3 months after their previous album, in November 1969. The album includes the hits "Down on the Corner" and "Fortunate Son", which became one of the anthems of the Vietnam War. 16. Needless to say, this album was also included in "Rolling Stone" magazine's 500 greatest albums of all time, and also in this case John Fogerty's control over the songwriting and leading of the band was almost complete. 17. In 1970 the band releases their fifth album in two years - "Cosmo's Factory". It is perhaps the band's most successful album in terms of sales and is definitely one of its creative highs, and once again this is an album that has entered the list of the 500 greatest albums of all time by "Rolling Stone" magazine. 18. The name of the album came from drummer Doug "Cosmo" Clifford who referred to a warehouse that was converted into a recording studio as a "factory" - hence "Cosmo's Factory". 19. The album includes, among other things, the amazing rendition of the soul classic "I Heard It Through the Grapevin", which become famous thanks to Marvin Gaye as well as the hits "Lookin 'out My Back Door", "Up Around the Bend", "Who'll Stop the Rain", "Long as I Can See the Light". 20. The band's sixth album "Pendulum" was also released in 1970 and includes the hit "Have You Ever Seen the Rain?". 21. As the band leader and main songwriter, John Fogerty felt that his opinions should be counted more than those of the others, this eventually led to the departure of his brother Tom in January 1971. 22. The remaining members continued without him, with the band's last album "Mardi Gras", the seventh in 4 years, coming out in 1972. 23. The band finally disbanded in 1973. The only reunion of all four original members was at Tom Fogerty's wedding in 1980. 24. John Fogerty's first solo album, named after him, was released in 1975. But it was then he entered nine years of silence, when between 1975 and 1984 he did not record anything due to a dispute with his record company "Fantasy Records". (Photo: Harris/AP) 25. In order to be released from his contract with "Fantasy Records" Fogarty eventually had to give up the rights to the songs he wrote for the band CCR. 26. About fifty years later, Fogarty managed to regain part of the control over the songs after reaching an agreement with the "Concord" company, which purchased the songs from "Fantasy Records". 27. To date, Fogerty has released 10 studio albums as part of his solo career, the most recent in 2020. 28. In 1993 Fogerty was inducted into the "Rock and Roll Hall of Fame" as a member of "CCR". 29. In 2005 he also entered the "Hall of Fame" the songwriters. 30. He appears on "Rolling Stone" magazine's list of the 100 greatest guitarists of all time 31. And he appears in "Rolling Stone" Magazine's list of the 100 greatest songwriters of all time. 32. And if that's not enough, then he's also on "Rolling Stones magazine's" 100 greatest singers of all time. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Chris Cornell's second solo album, was released on May 28, 2007, and it's just the time to tell you about the reasons that made Cornell grow up and "Carry On". The album's story begins at the twilight stage of Cornell's previous successful relationship with Audioslave, following the recording of the September 2006 album "Revelations". Under these circumstances, Cornell began working on "Carry On" and the theme song for the James Bond film "You Know My Name", while the rest of the band resorted to planning the reunion of "Rage Against The Machine", which took place in February 2007. On February 15, 2007, Chris officially announced that he was leaving "Audioslave", when the official reason given for the separation was "disagreements and musical inconsistencies". We later discovered that although outwardly the band broadcast that the album "Revelations" was an album that connected "Audioslave" as a band that shoots, writes, and gets its unique tone and DNA, they have disintegrated from within. We will not go into the details of the dissolution of "Audioslave", because we did come to tell about an album by our dear Crisco, but we will only say that the disputes were probably mainly about the business conduct between Chris and the rest of the band. Chris claimed everything had become calculated, for every little thing he wanted to do he had to negotiate as if he was under a monthly paycheck and not a partner. This is what probably broke him. He did not even officially announce to the other members about his departure, he simply decided to "move on" and re-cultivate his solo career. Just three months after "Audioslave" announces the cessation of its activities, Cornell released this album we review. The proximity of the times indicates that Cornell probably intended that a significant portion of the songs on this album would be included in the next "Audioslave" album, if it did come out, but he was forced to use them as part of the solo album. (Photo: Max Vadukul) Listening to this album might explain the possible reason for those disagreements on "Audioslave", as it is a very diverse album (even too diverse), both musically and in terms of lyrics. This is also probably one of its major drawbacks, as it feels like an album lacking a uniform musical line. It sounds more like a compilation album than a whole album, and it is very difficult to treat it as a whole. We will add and say that in our humble opinion it is easier to listen to each song separately than to the whole album from beginning to end. Even the album cover broadcasts a "compilation album." The list of songs on the top left of the front cover is reserved for compilation albums from the 1970s in which they would present the "hits" on the front of the album, for all to see. This album has a bit of every era in Cornell's musical career. From "Soundgarden", through "Euphoria Morning" to "Audioslave". But the amazing thing is that you can even hear parts of how Cornell is going to sound in the future. This is reflected, among other things, by the drum machine in the song "Killing Birds" that beckons to the album "Scream". We said excess diversity, so it probably also stems from the fact that the songs in it were originally intended for different projects and not for one complete and perfect album. Here's the mighty "You Know My Name" written especially for the "James Bond Casino Royale", which came out in 2006. The song includes a string accompaniment and is wrapped in a bombastic production reserved for the "Big Band" as required by Bond theme movies, so even though it is mighty in itself, it sounds detached and different from the rest of the album. The diversity continues with the cover version of Michael Jackson's song "Billie Jean", which Cornell took from the acoustic show he held on September 7, 2006, in Stockholm, Sweden, which was later unofficially released on a disc called "Chris Cornell: Unplugged in Sweden". Cornell's unplugged rendition of the song sounds more natural, real, exciting, and flowing than the album version that sounds a bit "stressed". The versatility continues with a collection of songs that Cornell seems to have written for "Audioslave", thinking the band will continue even after the third album. Songs like "No Such Thing" and "Your Soul Today," which sound like songs that could fit that formidable supergroup. Even listening to the psychedelic solo in the song "Poison Eye" and imagining it performed by Tom Morello and you will understand how right we are. And of course, this album features a collection of songs that Cornell wrote with the solo project in mind. Songs like "Arms Around Your Love", "Scar on the Sky" and, "Disappearing Act" definitely sounds like that. A sort of combination of Chris' 1999 model of "Euphoria Morning" to Chris's "The Next Generation" of "Higher Truth". And from here we come to the second downside of this album, which is the number of songs. Cornell's desire to showcase his versatility and show how prolific he is outside of "Audioslave" and "Soundgarden", too, has led him to unleash the entire vast arsenal of songs he has written for various projects, without pre-screening and editing. If Cornell had done such filtering and editing, for example, if he had released 10 songs with the same tone and musical direction in favor of the specific album, this album could have even equaled his level to Cornell's first solo album. We must regret the lack of filtering and early calculation of the nature of the songs they will choose for the album, because it greatly detracts from the enjoyment of this album as a whole and we are forced to treat it as a compilation album as opposed to one perfect work. And one more point for thought. Chris Cornell is an amazing singer, he's one of Rock's greatest voices. His voice can penetrate the heart and catheterize it, mix the soul and heal it. Inexplicably some of the songs on the album make us feel that Cornell is not making the best use of his voice here. There are moments in the album where we feel that Cornell's voice is trapped within the songs which do not allow him to let go and present his full potential. At times it seems that some of the songs here lead Cornell instead of Cornell pushing them forward. At the same time, this is an album that features some of Cornell's most beautiful songs. A collection of pearls that complete a luxurious necklace by one of the greatest artists of our generation. And it is impossible to end this review without "The Israeli Spot". This album also includes a little Israeli pride. Drummer Nir Zedekiah is the drummer with whom Cornell decided to record the album, and he is the only member among the large collection of musicians who accompanied Cornell, who participates in all 14 songs on the album. Nir has an impressive record of recording nationalist drums like Genesis, John Mayer, Flaw, and many others. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 28, 1991 "The Smashing Pumpkins" released their debut album "Gish". The story of an album begins somewhere on October 5, 1988, when the band's band finally formed, with the addition of drummer Jimmy Chamberlin. Until then, Billy Corgan, James Iha, and D'arcy Wretzky had appeared in clubs accompanied by a drum machine. The addition of Chamberlin was made in preparation for a performance scheduled for the band on the said date at the Metro Club in Chicago. Although Chamberlain came from the jazz field in general without any previous experience in the alternative, he significantly influenced the band's sound and led it in a heavier direction. Billy Corgan noted that until Chamberlain's arrival they were more in the gothic and played "sad rock" in "the Cure" style, but after joining they were following his forceful playing in a heavier direction. The band continued to perform in the lineup that included Chamberlain and at the same time writing material for the album. After recording several demos, the band managed to get a spot in a compilation album called "Light Into Dark", which was released in 1989 and included alternative bands from Chicago. But the success did not come quickly and in 1990 Billy Corgan used all the savings money his grandmother put aside for his university studies to record the band's first single "I Am One". The single was released in May 1990, exactly a year before the release of the album, which is the subject of our coverage, but it is a different recording from the one that appears on the album. The single sold well and the band immediately recorded another single, "Tristessa", which this time was released under the iconic Seattle label - "Sub Pop". The single won the title of "Pop of the Month" by "Sub Pop", and this led to the interest of several record labels, who competed among themselves over who would sign the band. In the end, it was "Caroline Records", who gave the better offer and with whom the band signed a recording contract. By December 1990, the band had already entered Smart Studios in Madison, Wisconsin, which was owned by producer Butch Vig, who was then quite anonymous. (Photo: Paul Natkn) The album was co-produced by Butch Vig and Billy Corgan, with each of the two "fertilizing" the other and challenging him to experiment with innovative recording and production methods. It can be said that Butch Vig came out on top of the two in this collaboration, as a few months later he would take all the things he learned during this production and apply them vigorously as the producer of "Nirvana's" masterpiece album "Nevermind", which was released about four months later. Although the album was produced relatively quickly one can notice two essential things that influenced its very unique sound. First, is the sound of the drums. Corgan asked that these not be processed nor have any effects at all and this was reflected in their immature and initial sound, which sounded like a performance in a small club. The second, is the sound of the guitars which was achieved after many hours of work in the studio, among other things by recording layers of guitar channels and applying them together, similar to Queen's recording methods on her first albums. Butch Vig noted that Corgan wanted everything to sound perfect. He spent many hours finding the right sound for every instrument, something that Butch Vig was not accustomed to until then. Corgan's perfectionism has led him to play most of the instruments during the recordings, even the drums. This drew heavy tension between the band members and later D'arcy will state that she does not know how the band came out of these recordings in peace. Corgan, for his part, said the stress he experienced during the recordings caused him a nervous breakdown. Corgan noted that the album is a personal and spiritual album that deals with pain. He said that "Gish" was very close to being an instrumental album. His lyrics were written by chance, with the music being the one that screams out even louder than the lyrics. He said there were things he wanted to say but could not express in words, so he managed to do so through music. Corgan was influenced at the time by, among others, psychedelic music and this is reflected in the musical direction of the album, which is a combination of heavy metal, psychedelia, and alternative. The album opens with "I Am One" and Chamberlain's monotonous drumming, which is gradually joined by the bass and guitars, each in turn. A powerful, dynamic, and sweeping song with a complete grunge sound which was also released as the album's first single. This is also the only single from the band whose writing credit is given to Korgan along with Iha. The song uses a double guitar solo technique, a technique that Korgan will repeat years later in songs like "Ava Adore" and "Tarantula". It is one of four songs recorded in 1989 for the band's Demos album, and has now been re-recorded for the benefit of the album. The "Siva" track continues the heavy line of "I Am One" with an uncompromising guitar attack. The dynamics that existed in the opening song intensify here when at 2:48 a quiet instrumental piece enters that lasts about a minute until an explosion ensues with cruel guitars that sound at times as if sampled from a "Janes Addiction" album. Corgan said he had the song in his head long before he started writing it. He even once considered calling a band "Siva". The riff of the song was written by Korgan during his work at a record store in Chicago, where he also met guitarist James Iha. The third track "Rhinoceros", proves the diversity and versatility of Corgan who wrote a melancholy-psychedelic piece of over six minutes, which did not sound like anything else at the time. The dynamics also exist in this song that develops and moves between weak and noisy, soft and rough. This is one of the songs that define the band's unique sound. A sound that will go and develop in future albums. The fourth track "Bury Me" is another song that the band had already recorded in 1989 for their demo album and has now been re-recorded for the album. A song led by the beating and galloping bass of D'arcy which along with the sounds of the guitar riff starting at 1:15 sound to us at times similar to how "Pearl Jam" will sound a few months later on the album "Ten". The roller coaster and dynamic of strong-weak, soft-rough, will last throughout the album, starting with the quiet opening of "Crush" which reminds us of the psychedelic and quiet sections of "Black Sabbath" in the early seventies, through the thunderous and rolling drumming and prismatic guitars of "Tristessa" and The quiet and moving last song "Daydream" sung by D'arcy. It is interesting to note that the song includes a quartet of strings, an accompaniment that the band will also use in future albums. "Daydream" features a hidden track called "I'm Going Crazy" and begins at 2:07 p.m. In conclusion, "Gish" named after Korgen's beloved grandmother - Lillian Gish, is without a doubt a significant and worthy opening chord of the band, which will continue to resonate and even intensify over the 1990s. The album mostly received rave reviews. For example, Greg Cote of the Chicago Tribune called "Gish" "probably the boldest and most perfect" of all the albums recorded by local bands in 1991. Rolling Stone magazine called it "awe-inspiring" mixed with "properly calculated chaos with dizzying power." For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Is there anything left to say about "OK Computer"? "Radiohead's" third album released on May 21, 1997. It is a masterpiece, the best album of the 90s and there were even some who went far as to select it as the best album of all time (ask Q Magazine readers). It does not seem to us that we can share anything new after everything that has been written and said about this album, but at least we will try to put things for you. So the first seeds for this album were planted somewhere in 1995 during the band's tour to promote their second and excellent album "The Bends". Brian Eno invited the band to donate a song to the album "The Help" for children in need in war zones. The album featured many famous musicians, from "Oasis", to "Blur", "Suede", "Portishead", "Massive Attack", "Manic Street Preachers", and many more goodies. "Radiohead" contributed to the album the no less chilling song "Lucky", which was influenced by the Bosnian war and was recorded together with Nigel Goodrich - the recording technician who worked with them on "The Bends", and who would later become the band's sixth member. Thom Yorke goes on to say that the song "Lucky" is the right mark that will determine the musical direction of the entire album. "Radiohead" began work on the album, in mid-1996, as soon as the tour that ended. In light of the album's success, "Radiohead" received the full support of the record company, which gave them a full liberty and even a huge budget to purchase recording equipment. In light of the good results of working on the song "Lucky", the band members decided to reunite with Nigel Goodrich and even consulted with him about what recording equipment should be purchased. The first sessions for the album were held in the band's studio near the town of Didcot in Oxfordshire, but the members encountered difficulties that probably stemmed from "birth cords" and their decision to produce the album themselves. Despite this, the band managed to record four songs in this session: "Electioneering", "No Surprises", "Subterranean Homesick Alien" and "The Tourist". At the request of the record company, the band took a break from the recordings, to hold 13 shows in the US as a warm-up for Alanis Morissette. During this short tour, the band received an offer from director Baz Luhrmann to write a song for his next film "Romeo + Juliet". When Thom Yorke saw the scene where the actress Claire Danes attaches a Colt 45 pistol to her head, he immediately knew in which direction the song was going. This song will help shape the musical direction of the emerging album, which in this case was influenced by Portishead trip-pop, especially the distortion-laden bass guitar in the final part of the song. (Photo: Gie Knaeps) But all of this served only as a prelude to the real thing, the second and main session of the recordings, which will leave a significant imprint on the overall vibe of the album, on its sound, and will probably also make it grow far beyond the total number of songs on it. In September 1996, "Radiohead" resumed recording of the album, this time at "St Catherine's Mansion" near Bath, owned by actress Jane Seymour. The isolation inside a huge and empty mansion allowed the band to work this time at a different pace, with flexible working hours and more spontaneity, but it mostly caused a change in the general atmosphere that permeated well into the songs as well. And the results were nothing short of amazing. The album opens with "Airbag" galloping on a Ferrari 458 on the highway, but even the four airbags in the cab can not protect you from the guitar distortion that mercilessly saws the car chassis one million dollar worth. Thom Yorke has managed to instill in this song his fears of road accidents and airbags in a perfect way and this fear permeates the listener well through the pores of hair he has nailed from the very first note. We have not yet had time to relax from the fear of cars, and we are already thrown into the future with "Paranoid Android" - Marvin from the book "The Hitchhiker's Guide to the Galaxy". A paranoid masterpiece on the edge of progressive rock, which takes you on a musical roller coaster in sharp transitions between acoustic guitars and squeaky distortions, up, down, and back for goodness sake, while completely ignoring gravity. If all this has not caused you paranoia yet, watch the clip that Radiohead created for the song, just do yourself a favor and at the same time make sure to get a prescription for suitable pills. We said "progressive rock" so Johnny Greenwood recently admitted that the progressive rock band Genesis influenced the songwriting. There are quite a few more immortal moments on this album. "Let Down" was recorded at the same mansion at three in the morning, spontaneously when the band suddenly got "inspired", "No Surprises" was recorded in one take and whose electric guitar is influenced by "the Beach Boys'" song "Wouldn't It Be Nice", the track "Subterranean Homesick Alien" That the keyboards and guitar in it correspond with Miles Davis' "Bitches Brew" and the harmonious move in the chorus of "Karma Police" influenced by "the Beatles'" "Sexy Sadie" song, are just examples from this perfect and inspiring piece. Years have passed since its release and it can already be said that the album is without a doubt the pinnacle of "Radiohead's" work, which it has not been able to recreate to this day. Admittedly, the band has managed to produce good albums over the years, despite its deliberate and courageous choice to get off the highway to the fringes, and experiment in new musical directions. None of these albums, however, have managed to maintain a high and uniform level throughout or reach the perfection of "Ok Computer". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 28.05.1982 Phil Manzanera recalled that he and Bryan Ferry went out for coffee and heard a woman singing in a nearby studio. It was a Haitian band recording there, and both of them were immediately stunned by the power of her voice. It turned out to be singer Yanick Étienne. She did not speak English, so her boyfriend, who managed the band, translated for her. By the following day, she was already contributing her distinctive high vocals to the sessions. Étienne’s refreshing addition ultimately saved "Avalon", the title track that had already been recorded but still felt incomplete in its original form. Once her voice entered the mix, the song transformed into one of the most unforgettable moments in the catalog of "Roxy Music", taken from "Avalon", the band’s eighth and final studio album, released on May 28, 1982. In October 1975, "Roxy Music" released their fifth studio album "Siren", completing an especially productive three-year period for the Newcastle band. One month before the release of the live album "Viva! Roxy Music", the band announced they would be taking a break. The hiatus eventually lasted nearly two and a half years. During that time, punk conquered Britain, while "Roxy Music" became a major influence on both the punk movement and the new wave scene that followed. The break came to an end in November 1978, when Bryan Ferry, Phil Manzanera, Andy Mackay, and drummer Paul Thompson began working on a new album. This second incarnation of the band introduced a noticeably different musical direction, one influenced by disco and aimed at a more commercial sound. Eventually, the band was reduced to a trio consisting of Ferry, Manzanera, and Mackay, who relied on elite session musicians to help realize their vision. Co-producer Rhett Davies was also in a position to introduce new working methods inspired by his recent collaborations with Brian Eno. "Roxy Music" had always been accustomed to recording songs live in the studio. Instead, Davies encouraged them to build songs gradually in the studio while recording rhythm tracks first. For the new album, many of those rhythms were created using a Roland CR-78 drum machine, while "Avalon" itself used a Linn drum machine. The entire approach reflected Eno’s philosophy of treating the recording studio itself as a musical instrument. Phil Manzanera said about the making of the record that nearly 90 percent of the songs on "Avalon" were written in the studio. He explained that the album represented a complete change in the band’s working methods. He also admitted that during the making of their last three albums there were far more drugs around the band, something he described as both positive and negative because it created a strong sense of paranoia. In a 1989 interview with "Rolling Stone", Manzanera explained that many of the tracks were built out of improvisations in the studio. The band constantly experimented with sounds and studio equipment, often discovering unexpected results by accident that eventually became part of the album’s identity. The combination of studio-based songwriting and using the studio itself as an instrument had already begun to develop during the sessions for "Flesh and Blood", through the band’s rendition of John Lennon’s "Jealous Guy", and eventually evolved fully into "Avalon". Work on "Avalon" began at Phil Manzanera’s Gallery Studios in Surrey, England, before the band relocated to "Compass Point Studios" in Nassau, Bahamas, the same studio where "AC/DC" recorded their massively successful album "Back in Black". Bryan Ferry later said that the tropical location and stormy weather helped shape the melancholic atmosphere that flows throughout the album. In a 1982 interview published in NME, Ferry explained that he had often imagined creating an album where all the songs were connected in the style of "West Side Story". However, he felt that approach would require too much effort, so instead he decided to connect the ten songs he already had into something resembling a collection of short stories that could almost form a novel. Ferry also explained the meaning behind the album’s title. In Arthurian legend, "Avalon" is the mystical island where King Arthur is taken after his death. To Ferry, it represented the ultimate romantic fantasy destination. In February 1982, "Roxy Music" traveled once again, this time to New York’s "Power Station Studios" in order to complete the album. Legendary engineer Bob Clearmountain was brought in to handle the final mix. The opening track and first single, "More Than This", explores the collapse of a relationship through a tone filled with emotional emptiness and existential despair. The song, along with the rest of the material on "Avalon", was written while Bryan Ferry was staying in Ireland, a place he later said heavily inspired the album’s calm and atmospheric sound. Ferry explained that listeners naturally connected to the album’s overall mood and its unique sonic character, adding that some of its darker melancholy likely came from the surroundings in which it was written. The title track "Avalon", released as the album’s second single, also reflected Ferry’s personal life at the time. After more than a decade with "Roxy Music", Ferry was beginning to move away from the chaos of the band in order to settle down with his future wife, Lucy Helmore. "Avalon" itself is the mythical island from Arthurian legend where King Arthur’s sword, Excalibur, was forged, and where Arthur was taken after being mortally wounded at the Battle of Camlann. The song later became especially memorable through a famous scene in the television series "Moonlighting", where detective David Addison, played by Bruce Willis, falls in love at first sight with a mysterious woman portrayed by Demi Moore, who was Willis’ wife at the time. The album cover was designed by graphic designer Peter Saville and featured Ferry’s girlfriend, and future wife, Lucy Helmore. The photograph was taken by photographer Neil Kirk at dawn, showing a cloaked figure wearing a medieval-style helmet while standing with their back turned toward the water. "Avalon" ultimately became the most successful album in the history of "Roxy Music". It remained at number one on the UK Albums Chart for three consecutive weeks and stayed on the chart for an entire year. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

And this time... This is what happens when the devil leaves dinosaurs in the studio... On May 28, 2013, "Alice In Chains" released their fifth studio album "The Devil Put Dinosaurs Here". This is the band's second studio album which was released after the death of the legendary Layne Staley, and the second to include singer William DuVall as the band's fourth member. The album comes four years after its predecessor "Black Gives Way to Blue" which was released in 2009. If on the previous album Jerry Cantrell took the lead vocals rule, with William serving as co-pilot, on this album Jerry allows himself to let go a little more, giving William more space to express in a way that makes this album sound more complete and cohesive than its predecessor. There is a sense that "Alice" is slowly breaking free from the "Chains" associated with Layne's death and is beginning to function as a solid group whose parts complement each other. The band sounds more confident here, and more goal-oriented. There are a few songs on this album that are definitely approaching the level of the good old Alice. "Hollow" which opens the album and was released as the first single, whose mesmerizing riff was written by Jerry Cantrell during the "warm-up" for the show that sealed the tour of the previous album. The song "Stone" whose riff Jerry Cantrell wrote during recovery from his shoulder injury. In the absence of the ability to play the recorded himself humming the riff to the phone, and the result was nothing but amazing, as the riff entered the list of the 20 greatest riffs of the decade. The song "Voices" is the first song written for the album, even before Jerry's injury. The theme song whose arppagio guitar intro takes us directly back to "Love, Hate, Love" from the debut album "Facelift". And the song "Scalpel" sounds like an outtake from the acoustic album "Jar OF Flies", and more and more good and strong songs !!! To be honest, towards the end of the album it seems that "Alice" is starting to lose some height with songs like "Phantom Limb" and “Hung on a Hook,” but even in these cases, it's exactly how we would like to hear one of the grunge "dinosaurs" of the 1990s 20 years later. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Noam Asulin Release date - 28.05.2010 "Triosphere" is a power metal band, with progressive metal influences and it comes from Norway. The review tells about their second album "The Road Less Traveled", which was released on May 28, 2010. "Triosphere" was formed in "Trondheim". Norway in 2004 by singer and bassist Ida Haukland, and guitarist Marius Silver Bergesen. At first, they were defined by the sound of their "heavy metal" but slowly the melodies and "power metal" entered, while incorporating progressive elements. Bergesen is the composer of all the instrumental parts, with Haukland serving as the lyricist and in charge of the vocal melodies. The band was originally formed as a trio that included Haukland, Bergesen, and drummer Ørjan Aare Jørgensen. They released their first EP "Deadly Decadence" in 2005 and after recording their first album "Onwards", which was released in 2006, they expanded into a quartet with the addition of guitarist Tor Ole Byberg. The style of "The Road Less Traveled" is different from its predecessor "Onwards" which was released 4 years earlier, and it features a more melodic sound. Vocalist Ida Haukland argues that the album is based on the idea, that even though a certain way we walk is less popular, it can still get us to our goals. The first track is called "Ignition" and it is actually an intro. In my opinion, the intro is very interesting, as it already includes Crunchy guitars that give a sense of desire to get "more" of this wonderful thing, and this "more" comes in the second track "Driven" which takes us into the "B&B" duo (Bergesen and Byberg) race car. The songs, are mostly very melodic, with a relatively fast tempo and "blast beats" by drummer Ørjan that do not stop for a moment (he is currently no longer in the band). As befits the genre, there are quite a few solos on this album, and Ida's bass is very bold and prominent in the production and that's not as common as you think. Too often I feel like the bass is lost in the mix and barely noticeable, but here, Ida and Marius (guitars) who are also responsible for the production of the album, take care and give a respectable stage to the bass guitar in the final mix. My feeling is that despite this, there is a balance between all the instruments on the album and everyone gets the place they deserve. Throughout the album, Ida shows what wonderful vocal abilities she has, with a rough and low voice that only gives us lust for more. The fifth track "Marionette" is perhaps the best known of the band and the latest track "Echoes" is a quiet instrumental version performed by piano and cello, which combines all the tracks 2 to 10 on the album. It is interesting to note that the Japanese extended version of the album also includes the song "Lawless", written as a tribute to Blackie Lawless, apparently influenced by the band's joint tour with "W.A.S.P." In the years 2006-2007 as well as a cover of the song "Welcome to the Jungle" originally by "Guns N 'Roses". The album received very positive reviews and entered the lists of recommended albums of the year, by several magazines and metal sites. In conclusion, I think this is a well-made Melodic Power Metal album, with wonderful sound, wonderful singing, and production that does not deprive any instrument. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 27, 2022 Guitar legend Michael Schenker released "Universal". It is another excellent studio album that is a direct continuation of his great releases in recent years with the albums "Resurrection" (2018) and "Revelation" (2019), released under" Michael Schenker Fest", and "Immortal" from 2021 released under the classic lineup of "Michael Schenker Group". The band that accompanies Michael Schenker this time is: Ronnie Romero (vocals), Bodo Schopf ("Eloy") (drums), Barend Courbois ("Blind Guardian", Zakk Wylde) (bass), and Steve Mann (keyboards and guitar). In addition, the album hosts many good artists such as: Michael Kiske ("Helloween") and Ralf Scheepers ("Primal Fear"), drummers Simon Phillips (Gary Moore, "Toto", "The Who"), Brian Tichy ("Whitesnake", "Foreigner"), Bobby Rondinelli ("Rainbow"), As well as legendary bassists Bob Daisley ("Black Sabbath"), Barry Sparks (Yngwie Malmsteen, "Dokken"), as well as keyboardist Tony Carey ("Rainbow"). Anyone who has loved Michael Schenker's recent albums will love this album as well. The Schenker's sound can already be recognized in the opening song "Emergency" the rooted metal with melodic structure and classic solo, the retro sound of "Under Attack" that takes us straight back to the mid-eighties, is Michael Schenker's bread and butter. But then, in the third and fourth tracks comes the big surprise of this album. One of the most beautiful tributes we have heard to Ronnie James Dio and one of Schenker's greatest songs in recent years. The song "A King Has Gone" and its intro "Calling Baal" are both tributes to Dio and especially to the album "Rainbow Rising" whose name is repeated in the lyrics of the song. Anyone who has read our review of the album "Long Live Rock 'n' Roll", knows that the title of the intro section "Calling Baal" is not accidental either. Remember, Ronnie James Dio said that during the recording of the album the band members performed séance ceremonies, while on one of them they met the spirit of the demon "Baal" who promised to hurt them. The back cover of the album also included the phrase: "No thanks to Baal". So tribute to legendary singer Ronnie James Dio will be perfect, Michael Schenker enlisted former members of "Rainbow" Bobby Rondinelli, Bob Daisley, and Tony Carey, who also performs the synth-Moog intro section "Calling Baal", which corresponds with the opening track of that immortal album "Tarot Woman". In addition, Schenker is assisted by singer Michael Kiske. By the way, this is not the only song that will remind you of "Rainbow" on this album. Listen to the "Sad is the Song" and you will find sounds and style that will remind you of "Rainbow", especially in the guitar work and "oriental" touches. But make no mistake, these are definitely not the only good songs on the album. There's the ballad "Long Long Road" in which Gary Barden and Ronnie Romero share vocals, there's the rhythmic and sweeping section "Wrecking Ball" with Ralph Scheepers' vocals, the "Yesterday is Dead" coaxed with Brian Tichy and Barry Sparks, "London Calling" (not that of "Clash") whose lyrics pay homage to the British rock bands from the 80's that brought hard rock into the mainstream, "Au Revoir" in which Schenker showcases his amazing abilities and more ... The album includes two bonus tracks, including the amazing "Turn Off the World" !!! For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On May 27, 2003 "Led Zeppelin'" released "How the West Was Won". This album was a long-awaited treasure for fans who craved a definitive live album from the band for decades since it's breakup. While previous releases like "The Song Remains the Same" and "BBC Sessions" had their merits, they failed to capture the full force and brilliance of "Led Zeppelin" at their peak as this album does. Finally, in 2003, Jimmy Page curated a remarkable collection of previously unreleased live recordings from the band's monumental performances in Los Angeles California during their tour of North America: "L.A. Forum" (25 June 1972) and "Long Beach Arena" (27 June 1972) The album showcases "Led Zeppelin's" sheer power and artistry performed live, with guitarist Jimmy Page considering this era as the band's artistic peak. The concerts at the "L.A. Forum" and "Long Beach Arena" were legendary, and although bootleg recordings of these shows circulated among fans for years, "How the West Was Won" provided the first opportunity to hear the soundboard versions of these performances. The meticulous editing and audio engineering by Jimmy Page at Island Studios in London further enhanced the album's quality. From the opening notes of "LA Drone" to the epic finale of "Bring It On Home", this triple album captures the band's majestic sweep and their ability to create musical tempests. "Led Zeppelin's" mastery of light and shade is on full display. With Jimmy Page's genius in summoning storms of guitar virtuosity, John Paul Jones delivering high level of his multi-instrument playing The musicianship of the entire band, including the invaluable contributions of John Bonham, and Robert Plant's iconic vocals, allowed Page to bring his visionary musical ideas to life. The album features both the band's longer, exploratory numbers and their concise, powerful songs. Tracks like the 25-minute tour de force "Dazed and Confused", the 23-minute "Whole Lotta Love", and the 19-minute drum showcase "Moby Dick" showcase "Led Zeppelin's" ability to improvise and create grandiose musical experiences. The band's talent shines brightest on the shorter songs, like "Immigrant Song", "Black Dog" and "Rock and Roll", where their sound is distilled to its essence. "Led Zeppelin's" studio intricacies are transformed into wild, dynamic live performances that hit hard and leave a lasting impact. But it is definitely the acoustic "Unplugged" moments where this album really shines. the "Moby Grape"-flavored "Going to California", the pastoral beauty of "That's the Way" and the stomp-beat "Bron-Y-Aur Stomp" showcase "Led Zeppelin's" diversity and innovation and prove it as one of the best live acts of the era. And then, of course, there is the chilling and mesmerizing live performance of "Stairway to Heaven", mixed by the wizardry hands of Jimmy Page from both performances at the "L.A. Forum" and "Long Beach Arena", while John Paul Jones's Mellotron was "borrowed" from the band performance at Southampton University, England, on 22 January 1973. "How the West Was Won" has received notable recognition in the music industry. It has appeared on several prestigious lists of the greatest live albums. "Rolling Stone" magazine ranked it 23rd on their "The 50 Greatest Live Albums of All Time" list, "Guitar World" magazine also recognized it as one of "The 10 Best Live Albums You Must Hear", "Classic Rock magazine" included it in their "The 50 Greatest Live Albums Ever", "Rock Hard" magazine included it in their extensive list of "The 500 Greatest Rock & Metal Albums of All Time". But While it received glowing reviews upon its initial release, its sales did not match the critical acclaim. However, as a heritage piece, it continues to enthrall and captivate fans who appreciate "Led Zeppelin's" unrivaled rock prowess. In conclusion, Led Zeppelin's "How the West Was Won" is a majestic live showcase of the band's rock power at its height. The album encapsulates "Led Zeppelin's" at its best live performance. This definitive live recording solidifies "Led Zeppelin's" status as one of the greatest bands ever. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website